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he mayor of dessau fritz hesse de dismissed hannes meyer following a scandal about alleged use of school funds for communist causes appointing mies van der rohe as his successor 6 van der rohe transformed the bauhaus into a private school and barred supporters of the previous director hannes meyer from the school still the dessau campus was shuttered in 1932 after the nazi party took over the local government of the free state of anhalt terms and concepts edit several specific features are identified in the bauhaus forms and shapes simple geometric shapes like rectangles and spheres without elaborate decorations buildings furniture and fonts often feature rounded corners sometimes rounded walls or curved chrome pipes some buildings are characterized by rectangular features for example protruding balconies with flat chunky railings facing the street and long banks of windows some outlines can be defined as a tool for creating an ideal form which is the basis of the architectural concept 7 bauhaus and german modernism edit after germany s defeat in world war i and the establishment of the weimar republic a renewed liberal spirit allowed an upsurge of radical experimentation in all the arts which had been suppressed by the old regime many germans of left wing views were influenced by the cultural experimentation that followed the russian revolution such as constructivism such influences can be overstated gropius did not share these radical views and said that bauhaus was entirely apolitical 8 just as important was the influence of the 19th century english designer william morris 1834 1896 who had argued that art should meet the needs of society and that there should be no distinction between form and function 9 thus the bauhaus style also known as the international style was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design however the most important influence on bauhaus was modernism a cultural movement whose origins lay as early as the 1880s and which had already made its presence felt in germany before the world war despite the prevailing conservatism the design innovations commonly associated with gropius and the bauhaus the radically simplified forms the rationality and functionality and the idea that mass production was reconcilable with the individual artistic spirit were already partly developed in germany before the bauhaus was founded the german national designers organization deutscher werkbund was formed in 1907 by hermann muthesius to harness the new potentials of mass production with a mind towards preserving germany s economic competitiveness with england in its first seven years the werkbund came to be regarded as the authoritative body on questions of design in germany and was copied in other countries many fundamental questions of craftsmanship versus mass production the relationship of usefulness and beauty the practical purpose of formal beauty in a commonplace object and whether or not a single proper form could exist were argued out among its 1 870 members by 1914 poster for the bauhausausstellung 1923 german architectural modernism was known as neues bauen beginning in june 1907 peter behrens pioneering industrial design work for the german electrical company aeg successfully integrated art and mass production on a large scale he designed consumer products standardized parts created clean lined designs for the company s graphics developed a consistent corporate identity built the modernist landmark aeg turbine factory and made full use of newly developed materials such as poured concrete and exposed steel behrens was a founding member of the werkbund and both walter gropius and adolf meyer worked for him in this period the bauhaus was founded at a time when the german zeitgeist had turned from emotional expressionism to the matter of fact new objectivity an entire group of working architects including erich mendelsohn bruno taut and hans poelzig turned away from fanciful experimentation and towards rational functional sometimes standardized building beyond the bauhaus many other significant german speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school they also responded to the promise to promote the object of assuring to every german a healthful habitation written into the new weimar constitution article 155 ernst may bruno taut and martin wagner among others built large housing blocks in frankfurt and berlin the acceptance of modernist design into everyday life was the subject of publicity campaigns well attended public exhibitions like the weissenhof estate films and sometimes fierce public debate bauhaus and vkhutemas edit main article vkhutemas the vkhutemas the russian state art and technical school founded in 1920 in moscow has been compared to bauhaus founded a year after the bauhaus school vkhutemas has close parallels to the german bauhaus in its intent organization and scope the two schools were the first to train artist designers in a modern manner 10 both schools were state sponsored initiatives to merge traditional craft with modern technology with a basic course in aesthetic principles courses in color theory industrial design and architecture 10 vkhutemas was a larger school than the bauhaus 11 but it was less publicised outside the soviet union and consequently is less familiar in the west 12 with the internationalism of modern architecture and design there were many exchanges between the vkhutemas and the bauhaus 13 the second bauhaus director hannes meyer attempted to organise an exchange between the two schools while hinnerk scheper of the bauhaus collaborated with various vkhutein members on the use of colour in architecture in addition el lissitzky s book russia an architecture for world revolution published in german in 1930 featured several illustrations of vkhutemas vkhutein projects there history of the bauhaus edit weimar edit the main building of the bauhaus university weimar built between 1904 and 1911 and designed by henry van de velde to house the sculptors studio at the grand ducal saxon art school it was designated a unesco world heritage site in 1996 the school was founded by walter gropius in weimar on 1 april 1919 14 as a merger of the grand ducal saxon academy of fine art and the grand ducal saxon school of arts and crafts for a newly affiliated architecture department 15 its roots lay in the arts and crafts school founded by the grand duke of saxe weimar eisenach in 1906 and directed by belgian art nouveau architect henry van de velde 16 when van de velde was forced to resign in 1915 because he was belgian he suggested gropius hermann obrist and august endell as possible successors in 1919 after delays caused by world war i and a lengthy debate over who should head the institution and the socio economic meanings of a reconciliation of the fine arts and the applied arts an issue which remained a defining one throughout the school s existence gropius was made the director of a new institution integrating the two called the bauhaus 17 in the pamphlet for an april 1919 exhibition entitled exhibition of unknown architects gropius still very much under the influence of william morris and the british arts and crafts movement proclaimed his goal as being to create a new guild of craftsmen without the class distinctions which raise an arrogant barrier between craftsman and artist gropius s neologism bauhaus references both building and the bauhütte a premodern guild of stonemasons 18 the early intention was for the bauhaus to be a combined architecture school crafts school and academy of the arts swiss painter johannes itten german american painter lyonel feininger and german sculptor gerhard marcks along with gropius comprised the faculty of the bauhaus in 1919 by the following year their ranks had grown to include german painter sculptor and designer oskar schlemmer who headed the theatre workshop and swiss painter paul klee joined in 1922 by russian painter wassily kandinsky the first major joint project completed by the bauhaus was the sommerfeld house which was built between 1920 and 1921 a tumultuous year at the bauhaus 1922 also saw the move of dutch painter theo van doesburg to weimar to promote de stijl the style and a visit to the bauhaus by russian constructivist artist and architect el lissitzky 19 from 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of johannes itten who taught the vorkurs or preliminary course that was the introduction to the ideas of the bauhaus 17 itten was heavily influenced in his teaching by the ideas of franz cižek and friedrich wilhelm august fröbel he was also influenced in respect to aesthetics by the work of the der blaue reiter group in munich as well as the work of austrian expressionist oskar kokoschka the influence of german expressionism favoured by itten was analogous in some ways to the fine arts side of the ongoing debate this influence culminated with the addition of der blaue reiter founding member wassily kandinsky to the faculty and ended when itten resigned in late 1923 itten was replaced by the hungarian designer lászló moholy nagy who rewrote the vorkurs with a leaning towards the new objectivity favoured by gropius which was analogous in some ways to the applied arts side of the debate although this shift was an important one it did not represent a radical break from the past so much as a small step in a broader more gradual socio economic movement that had been going on at least since 1907 when van de velde had argued for a craft basis for design while hermann muthesius had begun implementing industrial prototypes 19 mechanical stage design by joost schmidt 1925 gropius was not necessarily against expressionism and in the same 1919 pamphlet proclaiming this new guild of craftsmen without the class snobbery described painting and sculpture rising to heaven out of the hands of a million craftsmen the crystal symbol of the new faith of the future by 1923 however gropius was no longer evoking images of soaring romanesque cathedrals and the craft driven aesthetic of the völkisch movement instead declaring we want an architecture adapted to our world of machines radios and fast cars 20 gropius argued that a new period of history had begun with the end of the war he wanted to create a new architectural style to reflect this new era his style in architecture and consumer goods was to be functional cheap and consistent with mass production to these ends gropius wanted to reunite art and craft to arrive at high end functional products with artistic merit the bauhaus issued a magazine called bauhaus and a series of books called bauhausbücher since the weimar republic lacked the number of raw materials available to the united states and great britain it had to rely on the proficiency of a skilled labour force and an ability to export innovative and high quality goods therefore designers were needed and so was a new type of art education the school s philosophy stated that the artist should be trained to work with the industry 21 22 weimar was in the german state of thuringia and the bauhaus school received state support from the social democrat controlled thuringian state government the school in weimar experienced political pressure from conservative circles in thuringian politics increasingly so after 1923 as political tension rose one condition placed on the bauhaus in this new political environment was the exhibition of work undertaken at the school this condition was met in 1923 with the bauhaus exhibition of the experimental haus am horn 23 the social democrats lost their majority in the 1924 state election and the new conservative ministry of education placed the staff on six month contracts and cut the school s funding in half the bauhaus issued a press release on 26 december 1924 setting the closure of the school for the end of march 1925 24 25 at this point it had already been looking for alternative sources of funding after the bauhaus moved to dessau a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in weimar this school was eventually known as the technical university of architecture and civil engineering and in 1996 changed its name to bauhaus university weimar children s staircase by erich dieckmann furniture designer 1925 dessau edit main article bauhaus dessau the bauhaus moved to dessau in 1925 and new facilities there were inaugurated in late 1926 gropius s design for the dessau facilities was a return to the futuristic gropius of 1914 that had more in common with the international style lines of the fagus factory than the stripped down neo classical of the werkbund pavilion or the völkisch sommerfeld house 26 during the dessau years there was a remarkable change in direction for the school according to elaine hoffman gropius had approached the dutch architect mart stam to run the newly founded architecture program and when stam declined the position gropius turned to stam s friend and colleague in the abc group hannes meyer meyer became director when gropius resigned in february 1928 1 and brought the bauhaus its two most significant building commissions both of which still exist five apartment buildings in the city of dessau and the bundesschule des allgemeinen deutschen gewerkschaftsbundes adgb trade union school in bernau bei berlin meyer favoured measurements and calculations in his presentations to clients along with the use of off the shelf architectural components to reduce costs this approach proved attractive to potential clients the school turned its first profit under his leadership in 1929 but meyer also generated a great deal of conflict as a radical functionalist he had no patience with the aesthetic program and forced the resignations of herbert bayer marcel breuer and other long time instructors even though meyer shifted the orientation of the school further to the left than it had been under gropius he didn t want the school to become a tool of left wing party politics he prevented the formation of a student communist cell and in the increasingly dangerous political atmosphere this became a threat to the existence of the dessau school dessau mayor fritz hesse de fired him in the summer of 1930 27 the dessau city council attempted to convince gropius to return as head of the school but gropius instead suggested ludwig mies van der rohe mies was appointed in 1930 and immediately interviewed each student dismissing those that he deemed uncommitted he halted the school s manufacture of goods so that the school could focus on teaching and appointed no new faculty other than his close confidant lilly reich by 1931 the nazi party was becoming more influential in german politics and won a majority on the dessau city council the following year it moved to close the school onl...
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